In February, the production center known as National Musical Corporation (NMC) marked 17 years in operation. How does this entity briefly describe its influence on the evolution of pop culture in Russia?
The most valuable currency in music today is not trophies or awards but the affection of listeners and the presence of a confident hit. A song earns the label only after enduring for about a decade, yet over 17 years the production center has cultivated a repertoire of more than 20 enduring favorites that remain in the public consciousness. These tracks go beyond shelf prizes; they become cultural moments. Songs like Watch, sung at weddings, She’s Not Yours, a staple at karaoke, and Loneliness-Bitch, often belted with a heavy heart, exemplify the center’s broad cultural reach on a social and communal level.
Which label artists stand out as the most notable?
Among the artists, Stas Piehka stands out for the enduring partnership and the belief that their collaboration will remain influential and popular for years to come. Piehka possesses an audience that endures alongside him, signaling a lasting legacy for the collaboration.
Which musicians are currently most actively collaborated with?
The focus is on Guzel Khasanova, IVAN, Lisa Ginzburg, and ANSE. The aim is to elevate them into highly sought-after artists who are genuinely talented, hardworking, and deeply connected to their craft and audiences. Working with these artists is fulfilling. It is also important that older projects stay active: Nikolai Noskov remains a key collaborator with plenty of demos to share, Piehka continues to tour and attract crowds, and the center remains engaged with ongoing performances and new material.
On the NMK website, the singer Slava is listed among the artists, although collaboration has ended. Is this information outdated?
Yes, it is outdated. De jure Slava is not a current NMK artist. Yet the center takes pride in having created the artist and believes there may be moments when future collaboration could be possible. Victory does not stay permanently with any artist, and a reunion could happen when the time is right.
There was news about a negotiation with Spartak in 2021 over the club’s anthem. How did that unfold?
The discussion concluded with terms settled on mutually agreeable conditions.
What happened to the Don’t Tell Mom boy band, whose last activity on social networks appeared in late 2021?
The project did not achieve a sustained breakthrough. The group had considerable talent, but their path did not align. They were a union of like-minded individuals, and when the early creative harmony dissolved, the project could not sustain momentum. It was wiser not to attempt forcing a fragile collaboration into a lasting success.
In a separate comment, Dani Milokhin’s brother Ilya described the group as having potential, with cute outfits, a strong stage presence, and strong vocal talents. However, casting decisions are rarely flawless, and even with a hit, internal dynamics can decide a project’s fate. The artist also referenced personal beliefs in miracles, contrasting aspirations with reality.
Questions occasionally arise about Dmitry Koldun and the end of the collaboration in 2022, including statements about a lack of creativity. Does that sting the producer eyeing a lasting relationship with the artist?
It is unfortunate to hear such remarks about a potentially iconic singer. The person is appreciated, though current communication has paused. The producer remains proud that the winner of the sixth Factory project later rose to broader success, a point of pride in the center’s history.
Why do departures of producers from their wards often accompany public disputes?
The issue often centers on professional decency. In recent times, this topic has been a source of reflection for the producer. The experience with a close associate highlighted how personal and financial pressures can alter course. Time sometimes reveals that long-term service bears its own reward, even when relationships end abruptly.
Why does modern artists need a producer when they can foster their content independently on social media?
Having a computer and internet access is akin to creating a car in a garage: possible, but most effectively realized in a proper workshop. A producer does not erase an artist’s popularity; rather, the partnership can strengthen confidence, extend longevity, and help sustain attention in an ever-changing scene. A producer who is also a musician can become a crucial ally in an artist’s career, a practice seen among eminent Western acts as well.
In 2022, the center returned to working with the Tootsie group. Is there potential to return to their previous prominence?
The Tootsie project showed immediate impact with the debut track The Most, The Most reaching the top ten quickly. After a period of internal conflicts, the group paused, separated, and later expressed interest in reuniting. The producer would welcome a reunion if the group members align, and the artist remains present in the center’s thoughts and hopes for their continued growth. Talent and collaboration remain the driving forces behind any potential comeback.
Historically, the Russian scene was internationally oriented. Has this system partially dissolved, and what is the current state?
Politics should not overshadow music, though political shifts have impacted concert opportunities. Russian music and ballet will endure, while niche opportunities have emerged that bring fresh voices forward. Artists can connect directly with audiences online, transcending geographic borders. The key is to maintain sincerity and momentum, allowing time to place everything into perspective.
What trends define contemporary local pop music?
Earlier, songs tended to be melodic and lighter. The current landscape features a stronger emphasis on rap and similar musical textures, with some songs prioritizing attitude and messaging over musical complexity. The evolving scene prompts artists to balance a strong identity with accessibility for listeners.
What does it take for an artist to hold an audience’s attention over many years? For example, Alexander Kireev, a former Factory contestant, faded from view after early fame.
Staying visible is essential. It requires not just releasing a hit but maintaining consistent engagement and delivering high-profile updates. Chart placements matter, but sustained presence is what keeps a career thriving, indicating a willingness to pursue a chosen path with dedication and resilience.
Regarding Nikolai Noskov, a prominent figure who is currently touring, how has his recovery progressed in tandem with performances?
Noskov’s recovery has progressed well with tailored programs. Creativity remains vital for him; without concerts, life loses some of its color. An artist of such stature embodies a lasting star code that persists through adversity, allowing him to perform with renewed vigor and joy.
There is a belief that Russian pop may become less centralized and more driven by regional scenes. Do you share this view?
Music exists wherever people live, regardless of geography. While Moscow remains a hub, many opportunities today enable creators to publish online from any region, erasing traditional boundaries. At the same time, established centers like St. Petersburg, Yekaterinburg, and regional clubs continue to nurture talent, ensuring a vibrant, distributed landscape.
Looking back, which era offered the most favorable conditions for artist development in Russian pop history?
The early 2000s, with the Star Factory and other large-scale TV-backed music projects, stand out. These platforms helped some now-renowned artists gain serious traction. Channels created opportunities beyond ordinary music circles, shaping careers and contributing to the broader cultural impact of the genre.
Several artists have performed at Eurovision over the years. Does Eurovision still feel like a song contest to you, and what about this year’s competition?
Originally a song contest, Eurovision remains anchored in music, though politics has increasingly colored the event. The show is a grand celebration of European music, a festive week that captivates audiences across borders. Ideally, it should remain a pure musical celebration without political distractions, a shared experience that unites viewers from many nations.